Danseuse à la palette

細節

Julio Gonzalez (1876-1942)
Danseuse à la palette
inscribed, lettered and stamped with foundry mark on the right side 'GONZALEZ © E.A C. VALSUANI CIRE PERDUE'
bronze with black patina
Height (excluding base): 31 7/8in. (81cm.)
Original forged iron version executed circa 1934; this bronze version cast by the estate of the artist in an edition of three numbered 1/3-3/3, plus four casts marked 0, 00, EA and HC

來源

Gimpel Fils Ltd., London (acquired by the present owner, 1971)

出版

C. Degrand, González, Cologne and Berlin, 1956, no. 12 (forged iron version illustrated)
D. Smith, "González: First Master of the Torch," Art News, vol. 54, no. 10, Feb., 1956, p. 35 (forged iron version illustrated)
J.J. Tharrats, "Julio González," Revista de Actualidades Artes y Letras, vol. 5, no. 208, April 5-11, 1956, p. 12 (forged iron version illustrated)
A. Roig, "Julio González," Cuadernos de Arte del Ateneo de Madrid, 1960
V. Aguilera Cerni, Julio González, Rome, 1962, pl. XLV (forged iron version illustrated)
M.N. Pradel del Grandry, Julio González, Milan, 1966, pl. VI (forged iron version illustrated)
L. Carluccio, "Ospitati a Torino i designi della Spiritato Julio González," Gazetta del Popol, 1967
F. Billiter, "Blick zum Berg Montserrat," Tigas-Anzeigen, Jan. 29, 1970 (forged iron version illustrated)
G.C. Argen, L'arte moderna, 1770-1970, Florence, 1970, p. 570 (forged iron version illustrated, p. 646)
P. Sanvio, "Due Maestri: González e Radice," Il Drama, Oct., 1971 Les Music, encyclopédie des arts, Paris, 1972, vol. VII, no. 119 (forged iron version illustrated, p. 2378)
E. Beaucamp, "Die eiserne Tänzerin und ein Schrei, Der Reichtum des Julio González," FAZ, April 22, 1977 (forged iron version illustrated)
D. Schmidt, "González-die Form und am Ende der Schrei," Suddentsche Zeitung, April 26, 1977 (forged iron version illustrated)
A.E. Elsen, Modern Sculpture 1968-1945, Unknown and Other Realities, New York, 1979, p. 37
J. Merkert, Julio González, Catalogue raisonné de sculptures, Milan, 1987, no. 152 (forged iron version illustrated, pp. 151-152)

拍品專文

Danseuse à la palette marks the transition from González's fundamentally planar style of the 1920s and early 1930s to a linear approach. The incorporation of the palette-shape as the formal focus of this figure represents the earlier stylistic component of his evolution, while the linear elements attest to this new direction in his sculpture. By this time González had come to the conclusion that a closed volume or mass constructed in a planar manner was unsuccessful as a symbolic form, because certain surfaces were hidden from the viewer. Linear forms, however, are effective from all sides, and he held that this is the ideal idiom for the sculptor.

González's sculptures...are compelling because, by virtue of their visible process and technique (and thus the imminent presence of a human hand), they incarnate a precariousness of gesture and emotion. In the linear pieces of approximately 1934 the relationships between the different lengths and sections of metal wire or strips are irregular, nondescriptive and unexpected; yet somehow they express a gravity, a tension and an equilibrium that we identify with the postures of the human figure. (M. Rowell, "Julio González: Technique, Syntax, Context," Julio González, A Retrospective, New York, 1983 [The Solomon R. Guggenheim Museum exhibition catalogue], pp. 29-30)